On The Creation Research Of The Visual Language Of The Stone Portraits Of Wu's Temple In The Art Of Lacquer Painting

The beauty of lacquer is mild,simple and vigorous.The lacquer in China has a long history with a distant origin and a long development.Since the Han Dynasty,China’s lacquer ware has been introduced into neighboring countries constantly because of its exquisite workmanship.It’s not until the Ming and Qing dynasties that due to the influence of the great sea trade,the lacquer culture was carried forward to Europe,and the natural organic style of lacquer art influenced the new art movement and decorative art movement in Europe later.However,as a form of lacquer painting,from the 1960 s,our country came into contact with Vietnamese lacquer painting and gradually developed into frame painting.Chinese lacquer painting has fallen into a more important cycle than painting for a long time,as a result,lacquer painters pay more attention to lacquer technology,while ignore the essence of painting.Mr.Enshen Chen said once " the prospect of lacquer painting lies in painting not lacquer." Mr.Chen hopes that the contemporary lacquer painters can pay more attention to the painting and aesthetic embodiment of lacquer painting,and add the expression form of lacquer painting.The Han Dynasty statue stone of Wu’s Temple is a bright pearl in the history of Han Dynasty art,who concentrated the Han Dynasty people’s food,clothing,housing,transportation and ideological and cultural affairs on a stone.With an engraving technique of flat shallow embossing,it depicts the living life of Han Dynasty in the form of stone portrait,which is called "living stone ".Further more,as the creation of the stone portrait has promoted the extension of printing,thus having a far-reaching impact on the planks,it can be said that Han painting stone has promoted the progress of Chinese painting art.In the paper,the author gradually combines the both sides by analyzing the artistic characteristics of lacquer painting and the beauty of the visual language of the statue stone of Wu’s Temple.In the end,it is inspired by the visual language of portrait as its creative inspiration,and converts the visual language of Wu’s Temple into the painting creation of the author to analyze it.Combining the same fine Chinese art and cultural heritage recreates the warmth of the lacquer and the romance of the portrait,having completed the practice of Wu’s ancestral stone in the creation of contemporary lacquer painting in order to enrich the expression of lacquer painting and improve the personality of artistic language.